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HATTIE JACQUES Born Josephine Edwina Jacques on February 7" 1922 She Went on to Become a Nationally Recognised Figure in the British Cinema of the 1950S and 60S
Hattie Jacaues Born 127 High St 1922 Chapter Twelve HATTIE JACQUES Born Josephine Edwina Jacques on February 7" 1922 she went on to become a nationally recognised figure in the British cinema of the 1950s and 60s. Her father, Robin Jacques was in the army and stationed at Shorncliffe Camp at the time of her birth. The Register of Electors shows the Jacques family residing at a house called Channel View in Sunnyside Road. (The register shows the name spelled as JAQUES, without the C. Whether Hattie changed the spelling or whether it was an error on the part of those who printed the register I don’t know) Hattie, as she was known, made her entrance into the world in the pleasant seaside village of Sandgate, mid way between Folkestone to the east and Hythe to the west. Initially Hattie trained as a hairdresser but as with many people of her generation the war caused her life to take a different course. Mandatory work saw Hattie first undertaking nursing duties and then working in North London as a welder Even in her twenties she was of a generous size and maybe as defence she honed her sense of humour after finding she had a talent for making people laugh. She first became involved in show business through her brother who had a job as the lift operator at the premises of the Little Theatre located then on the top floor of 43 Kings Street in Covent Garden. At end of the war the Little Theatre found itself in new premises under the railway arches below Charing Cross Station. -
Radio 4 Extra Listings for 19 – 25 August 2017 Page 1 of 8
Radio 4 Extra Listings for 19 – 25 August 2017 Page 1 of 8 SATURDAY 19 AUGUST 2017 Read by Robert Glenister monarchy and giving a glimpse into the essential ingredients of a Written by Sarah Dunant successful sovereign. SAT 00:00 Bruce Bedford - The Gibson (b007js93) Abridged by Eileen Horne In this programme, Will uses five objects to investigate a pivotal Episode 5Saul and Elise make a grim discovery in the nursing Produced by Clive Brill aspect of the art of monarchy - the projection of magnificence. An home. Time-hopping thriller with Robert Glenister and Freddie A Pacificus production for BBC Radio 4. idea as old as monarchy itself, magnificence is the expression of Jones. SAT 02:15 Me, My Selfie and I: Aimee Fuller©s Generation power through the display of wealth and status. Will©s first object SAT 00:30 Soul Music (b04nrw25) Game (b06172qq) unites our current Queen with George III; the Gold State Coach, Series 19, A Shropshire Lad"Into my heart an air that kills Episode 5In the final part of her exploration of the selfie which has been used for coronations since 1821. Built for George From yon far country blows: phenomenon, snowboarder Aimee Fuller describes how she will III in 1762, it reflects Britain©s new found glory in its richly gilded What are those blue remembered hills, be using social media as she sets out to compete for a place at the carvings and painted panels...but the glory was to be short lived. What spires, what farms are those? next Winter Olympics. -
The Nation's Matron: Hattie Jacques and British Post-War Popular Culture
The Nation’s Matron: Hattie Jacques and British post-war popular culture Estella Tincknell Abstract: Hattie Jacques was a key figure in British post-war popular cinema and culture, condensing a range of contradictions around power, desire, femininity and class through her performances as a comedienne, primarily in the Carry On series of films between 1958 and 1973. Her recurrent casting as ‘Matron’ in five of the hospital-set films in the series has fixed Jacques within the British popular imagination as an archetypal figure. The contested discourses around nursing and the centrality of the NHS to British post-war politics, culture and identity, are explored here in relation to Jacques’s complex star meanings as a ‘fat woman’, ‘spinster’ and authority figure within British popular comedy broadly and the Carry On films specifically. The article argues that Jacques’s star meanings have contributed to nostalgia for a supposedly more equitable society symbolised by socialised medicine and the feminine authority of the matron. Keywords: Hattie Jacques; Matron; Carry On films; ITMA; Hancock’s Half Hour; Sykes; star persona; post-war British cinema; British popular culture; transgression; carnivalesque; comedy; femininity; nursing; class; spinster. 1 Hattie Jacques (1922 – 1980) was a gifted comedienne and actor who is now largely remembered for her roles as an overweight, strict and often lovelorn ‘battle-axe’ in the British Carry On series of low- budget comedy films between 1958 and 1973. A key figure in British post-war popular cinema and culture, Hattie Jacques’s star meanings are condensed around the contradictions she articulated between power, desire, femininity and class. -
Gb 1456 Thomas
GERALD THOMAS COLLECTION GERALD THOMAS COLLECTION SCOPE AND CONTENT Documents relating to the career of director GERALD THOMAS (Born Hull 10/12/1920, died Beaconsfield 9/11/1993). When Gerald Thomas died, his producer partner of 40 years Peter Rogers said: ‘His epitaph will be that he directed all the Carry On films.’ Indeed, for an intense 20-year period Thomas directed the Carry On gang through their innuendo laden exploits, and became responsible, along with Rogers, for creating one of the most enduring and endearing British film series, earning him his place in British popular culture. Thomas originally studied to become a doctor, before war service with the Royal Sussex Regiment put paid to his medical career. When demobilised in 1946, he took a job as assistant in the cutting rooms of Two Cities Films at Denham Studios, where he took Assistant Editor credits on Laurence Olivier’s Hamlet (1948) and the John Mills thriller The October Man (1947). In 1949, he received his first full credit as editor, on the Margaret Lockwood melodrama Madness of the Heart (1949). During this time Peter Rogers had been working as associate producer with his wife, producer Betty Box, on such films as It’s Not Cricket (1949) and Don’t Ever Leave Me (1949). It was Venetian Bird in 1952 that first brought Thomas and Rogers together; Thomas employed as editor by director brother Ralph, and Rogers part of the producer team with Betty Box. Rogers was keen to form a director/producer pairing (following the successful example of Box and Ralph Thomas), and so gave Gerald his first directing credit on the Circus Friends (1956), a Children’s Film Foundation production. -
Radiotimes-July1967.Pdf
msmm THE POST Up-to-the-Minute Comment IT is good to know that Twenty. Four Hours is to have regular viewing time. We shall know when to brew the coffee and to settle down, as with Panorama, to up-to- the-minute comment on current affairs. Both programmes do a magnifi- cent job of work, whisking us to all parts of the world and bringing to the studio, at what often seems like a moment's notice, speakers of all shades of opinion to be inter- viewed without fear or favour. A Memorable Occasion One admires the grasp which MANYthanks for the excellent and members of the team have of their timely relay of Die Frau ohne subjects, sombre or gay, and the Schatten from Covent Garden, and impartial, objective, and determined how strange it seems that this examination of controversial, and opera, which surely contains often delicate, matters: with always Strauss's s most glorious music. a glint of humour in the right should be performed there for the place, as with Cliff Michelmore's first time. urbane and pithy postscripts. Also, the clear synopsis by Alan A word of appreciation, too, for Jefferson helped to illuminate the the reporters who do uncomfort- beauty of the story and therefore able things in uncomfortable places the great beauty of the music. in the best tradition of news ser- An occasion to remember for a Whitstabl*. � vice.-J. Wesley Clark, long time. Clive Anderson, Aughton Park. Another Pet Hate Indian Music REFERRING to correspondence on THE Third Programme recital by the irritating bits of business in TV Subbulakshmi prompts me to write, plays, my pet hate is those typists with thanks, and congratulate the in offices and at home who never BBC on its superb broadcasts of use a backing sheet or take a car- Indian music, which I have been bon copy. -
Scout and Guide Stamps Club BULLETIN #302
Scout and Guide Stamps Club BULLETIN 52 Volume 53/ No. 6 (Whole No. 302) NOVEMBER/DECEMBER 2008 1 Editorial Well, this is it - I’ve made a year as the Editor - and a very interesting time it has been as well! Mostly it has gone very smoothly and I am very grateful to those of you who have supported me by sending in articles. I can always do with more - especially for the “My Favourite Scout Stamp” pieces. There have been one or two problems - like letters going astray and e-mails not getting through but overall I feel that it has been a success and from the letters and e-mails that I’ve received I think you do too. So now we approach 2009 and Scouting’s 102nd year. I don’t know about you all but here we are slowly getting a series of Scout Groups celebrating their own Centenaries, with many issuing commemorative badges but, so far, no stamps or postmarks. I’ve been asked by several people about the franking mark that we sue on the Bulletin distribution. I hope that you all notice it was different this time - Guiding instead of Scouting. These franks belong to a company which trades as both “One Stop Scouting” and “One Stop Guiding” and sells items to both Movements, such as scarves (neckers), badges, camping equipment, etc. etc. So whilst it is not strictly a Scouting or Guiding meter mark it is at least strongly related. By the time that you are reading this we will be only about 18 months away from EuroScout 2010, which as I seem to be constantly reminding you is being held in Chelmsford in the UK. -
1 Sticky Stories: Joe Orton, Queer History, Queer Dramaturgy
Sticky Stories: Joe Orton, Queer History, Queer Dramaturgy. Stephen Farrier Royal Central School of Speech and Drama, University of London. Joe Orton, commonly thought of as a playwright of risqué farces in the 1960s, was a very present figure for a while in the gay community in the UK in the late 1980s and early 1990s (perhaps because his biography was published late in the 1970s, his diaries in 1986 and a film based on the diaries released 1987). His presence in 1980s and 1990s gay culture was in part because he met a death worthy of column inches and, importantly, he stood as emblematic of a past homosexual who refused to curb his sexuality whilst living in a conservative social context. In England and Wales, homosexuality was not criminalised in the 1980s and 1990s as it had been in the 1950s and 1960s, but there were present homophobic social values and legislation (Section 28, unequal age of consent) that resonated with the context within which Orton was writing and his work was first being produced.1 Orton’s figure as a queer and a playwright stood as both inspiration and a lesson from the past, one that reminded queers and gays in the 1980s and 1990s that the fight for equality does not end with a change in the legal status of homosexuality, or indeed in the 2010s, with equal marriage. Yet in recent years Orton’s work has fallen out of favour and does not appear as often as it once did on the queer cultural landscape. There are many reasons for this, not least of all that the kind of work that Orton makes might not register as queer or even gay now. -
Shail, Robert, British Film Directors
BRITISH FILM DIRECTORS INTERNATIONAL FILM DIRECTOrs Series Editor: Robert Shail This series of reference guides covers the key film directors of a particular nation or continent. Each volume introduces the work of 100 contemporary and historically important figures, with entries arranged in alphabetical order as an A–Z. The Introduction to each volume sets out the existing context in relation to the study of the national cinema in question, and the place of the film director within the given production/cultural context. Each entry includes both a select bibliography and a complete filmography, and an index of film titles is provided for easy cross-referencing. BRITISH FILM DIRECTORS A CRITI Robert Shail British national cinema has produced an exceptional track record of innovative, ca creative and internationally recognised filmmakers, amongst them Alfred Hitchcock, Michael Powell and David Lean. This tradition continues today with L GUIDE the work of directors as diverse as Neil Jordan, Stephen Frears, Mike Leigh and Ken Loach. This concise, authoritative volume analyses critically the work of 100 British directors, from the innovators of the silent period to contemporary auteurs. An introduction places the individual entries in context and examines the role and status of the director within British film production. Balancing academic rigour ROBE with accessibility, British Film Directors provides an indispensable reference source for film students at all levels, as well as for the general cinema enthusiast. R Key Features T SHAIL • A complete list of each director’s British feature films • Suggested further reading on each filmmaker • A comprehensive career overview, including biographical information and an assessment of the director’s current critical standing Robert Shail is a Lecturer in Film Studies at the University of Wales Lampeter. -
Carry on Cabby, Gender, and the Local Industrial Power Nexus
Carry on Cabby, Gender, and the Local Industrial Power Nexus Kieron O’Hara More than 900 years have passed since the Norman Conquest, and it is sobering to think that so many centuries of English history, that the slow, beneficent growth of a society so traditional and stable, that the legacy of Shakespeare, Jonson, Dryden and the like-should have issued at last with “Carry On Camping,” which opened yesterday at neighborhood theaters.’ For no man Laughs at old jests ....’ 1. Introduction The Curry On films have for a long time held an important place in British popular culture, although a place not acknowledged in the litera- ture on popular culture as often ‘as one might think. A series of comedy films played by a large ensemble of comedy actors, with little or no claim to art, whose humor would fairly be described as basic, the Curry Ons have a felt Englishness3 about them, often described as analogous to fish and chips, or saucy seaside postcards. They have not endeared them- selves to critics or intellectuals: feminists and the right deplore their near-obsession with the breasts and bottoms of a series of buxom actresses (chiefly Barbara Windsor); the left detect reactionary views: particularly of working relationships, perhaps most in evidence in Kenneth Cope’s doctrinaire and obstructive shop steward in Curry On At Your Convenience. Even where the influence of the Curry Ons is acknowledged without prejudice, it is not generally the case that that influence can be seen as a good one. For example, Peter Hutchings rightly notes the importance of the Curry On tradition for Hitchcock’s Fren~y;~however, no-one would claim that Frenzy was the most politi- cally correct of Hitch’s pictures. -
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Feature CARRY ON SCREENING Bond seduced his beauties here, Barbara Windsor lost her bikini – and Keira Knightley got drenched. David James Smith roams the backlots of Pinewood Studios WATER BABY: Keira Knightley gets immersed in her work xx during the fi lming of Atonement 27 stm29026.indd26 2-3 The Sunday Times Magazine June 29, 2008 June 29, 2008 The Sunday Times Magazine 2719/6/08 17:28:01 Investigation Wanted posters Neighbours were asked if they had seen a foreign show both male and woman; they hadn’t. The police went through the female Ichihashis neighbouring apartment onto the balcony over- looking Ichihashi’s home. It was dark, but they were right next to Ichihashi’s balcony. He had ere nothing is ever quite her, don’t speak to them. This is my community, dragged his bath out onto it and Lindsay was what it seems to be. It should come as no surprise she said, they all know I’m the English teacher, I dead inside it with her hand sticking out, but Hthat the hand-carved solid oak entrance to the have to speak to them. When you’re on the train, the police did not see her. The police could see main building of Pinewood fi lm studios is just read a book, Bill told her. Don’t freak, Dad, there was somebody inside the apartment but, actually an extravagantly grand Elizabethan she said, it’s just crazy Japan. She was always say- their notes said, they could not go in because they fi replace, imported seven decades ago from a ing that. -
The Culture of Queers
THE CULTURE OF QUEERS For around a hundred years up to the Stonewall riots, the word for gay men was ‘queers’. From screaming queens to sensitive vampires and sad young men, and from pulp novels and pornography to the films of Fassbinder, The Culture of Queers explores the history of queer arts and media. Richard Dyer traces the contours of queer culture, examining the differ- ences and continuities with the gay culture which succeeded it. Opening with a discussion of the very concept of ‘queers’, he asks what it means to speak of a sexual grouping having a culture and addresses issues such as gay attitudes to women and the notion of camp. Dyer explores a range of queer culture, from key topics such as fashion and vampires to genres like film noir and the heritage film, and stars such as Charles Hawtrey (outrageous star of the Carry On films) and Rock Hudson. Offering a grounded historical approach to the cultural implications of queerness, The Culture of Queers both insists on the negative cultural con- sequences of the oppression of homosexual men and offers a celebration of queer resistance. Richard Dyer is Professor of Film Studies at The University of Warwick. He is the author of Stars (1979), Now You See It: Studies in Lesbian and Gay Film (Routledge 1990), The Matter of Images (Routledge 1993) and White (Routledge 1997). THE CULTURE OF QUEERS Richard Dyer London and New York First published 2002 by Routledge 11 New Fetter Lane, London EC4P 4EE Simultaneously published in the USA and Canada by Routledge 29 West 35th Street, New York, NY 10001 Routledge is an imprint of the Taylor & Francis Group This edition published in the Taylor and Francis e-Library, 2005. -
How Bona to Varda Your Dolly Old Eke
How bona to varda your dolly old eke RI LA PO Polari (also seen as 'Palare') is a gay slang lan- guage, which has now almost died out. It was more common in the 1930s to the 1960s when gays had more need of a private slang. Po- lari itself was never clearly defined: an ever- changing collection of slang from various sources including Italian, English (backwards slang, rhym- ing slang), circus slang, canal-speak, Yiddish and Gypsy languages. RI LA PO A bit of vocabulary acqua water bijou small bona good cackle speak chavie child dolly pleasant dowry a lot, much eke face fakement thing fang carsey dentist fantabulosa excellent lally leg lattie house mince walk munge darkness nanti no, nothing ogle fakes spectacles omi man palone woman riah hair troll go varda see, look The Bible in Polari The whole of the Bible has been trans- lated into Polari Here’s Genesis Chapter 1. In the beginning Gloria created the heaven and the earth. And the earth was nanti form, and void; and munge was upon the eke of the deep. And the fairy of Gloria trolled upon the eke of the aquas. And Gloria cackled, Let there be sparkle: and there was sparkle. And Gloria var- dad the sparkle, that it was bona. The Bible in Polari Here’s a bit of “Matilda” Chapter 9 And Josie knowing their thoughts cack- led, Wherefore think ye nana in your thumping cheats? For whether is easier, to cackle, Thy kertervers be forgiven thee; or to cackle, Arise, and mince? But that ye may know that the omi chavvie of omi hath power on earth to forgive kertervers.